Name: Don't Kill Me
Genre: Horror
Released: 2021-04-21T00:00:00+00:00
Cast: Alice Pagani, Rocco Fasano, Silvia Calderoni, Fabrizio Ferracane, Sergio Albelli

The opening scene of Don’t Kill Me—Mirta’s (Alice Pagani) frantic gasp for air after overdosing, her eyes snapping open to a world that rejects her—is the film’s most compelling moment. It promises a fresh take on the undead genre, but Andrea De Sica’s adaptation of Chiara Palazzolo’s novel quickly unravels into a muddled mess.

The premise is intriguing: 19-year-old Mirta dies of a drug overdose with her boyfriend, Robin (Rocco Fasano), only to resuscitate alone and discover she’s part of a violent underworld where the undead, or “Overdead,” must eat living humans to survive. This could have been a fascinating exploration of survival, morality, and the monstrous within, but Don’t Kill Me stumbles in its execution.

The film’s first act sets up Mirta’s transformation with eerie potential. The idea of blending romance with horror is ambitious, but De Sica struggles to balance these elements effectively. The narrative quickly devolves into a series of disjointed scenes that lack cohesion. The pacing is uneven, with the film often feeling rushed in its attempt to establish Mirta’s new reality and her struggle to adapt.

De Sica’s direction suffers from several missteps. The camera work, frequently criticized for being laughable, does little to enhance the horror or romance. Shots are often flat, failing to build tension or evoke emotion. For instance, when Mirta first realizes she must consume human flesh to survive, the scene lacks the visceral impact it should have. The film’s horror elements, which should be its backbone, feel half-hearted, relying too heavily on jump scares rather than atmospheric dread.

The performances are another weak point. Pagani’s portrayal of Mirta is uneven; while she captures the character’s initial desperation well, her performance lacks depth as the story progresses. The emotional range required to portray Mirta’s transformation from a vulnerable teenager to a predator is not fully realized. Rocco Fasano as Robin and Silvia Calderoni as Sara fail to leave a lasting impression, their characters feeling more like plot devices than fully realized individuals. Even Fabrizio Ferracane and Anita Caprioli, who play supporting roles, struggle to bring nuance to their parts.

The film’s biggest misstep is its failure to commit to either horror or romance. The romantic subplot feels tacked on, never fully integrating with the horror elements. The “Overdead” concept, which could have been a fascinating twist on traditional zombie lore, is underdeveloped. Scenes meant to explore Mirta’s struggle with her new existence are rushed, leaving the audience with more questions than answers.

Thematically, Don’t Kill Me attempts to explore themes of identity, survival, and the monstrous within. However, these themes are not fully developed due to the film’s disjointed narrative. The potential for a deeper exploration of Mirta’s internal conflict is squandered in favor of generic horror tropes. The film also struggles with its tone, oscillating between romantic drama and horror without finding a consistent voice.

Comparatively, Don’t Kill Me falls short when stacked against other films in the genre. Works like Parasite (9.4 MCM Score) successfully blend horror with social commentary and character development, while The Killer (6.8 MCM Score) excels in its taut pacing and visceral action. In contrast, Don’t Kill Me lacks the cohesion and depth that make those films compelling.

The film’s production values also leave much to be desired. Shot in Rome, the locations fail to add any significant atmosphere or visual interest. The cinematography is functional at best, never rising to the level of artistry required to elevate the material. The soundtrack is equally unremarkable, failing to enhance the film’s emotional or suspenseful moments.

The audience for Don’t Kill Me is unclear. Horror fans looking for a fresh take on the undead genre will be disappointed by the film’s generic approach. Romance enthusiasts will find the romantic subplot underdeveloped and unconvincing. The film’s target demographic seems to be lost in its attempt to appeal to both horror and romance audiences, ultimately satisfying neither.

In conclusion, Don’t Kill Me tries to be many things at once but ultimately succeeds at none. Its lack of a clear identity and shallow character development make it a forgettable entry in the horror genre. The film’s 90-minute runtime feels longer due to its sluggish pacing and inconsistent tone.